SINCE their inception in 2013, Run The Jewels, consisting of producer and rapper EL-P and rapper Killer Mike, have exhibited a quality that sets them apart from most of their contemporaries – synergy.

As interviews with the artists showcase, there is a genuine friendship and respect between them, which in musical terms translates to a beautiful, dual lyrical flow running in perfect symbiosis with possibly some of the dankest beats in current hip hop. Said symbiosis and camaraderie is still on showcase on this record, albeit the fire seems to have, sadly, died down a little.

While their previous two records lyrically were more concerned with braggadocio and setting them apart as hip hop’s pariahs that are still a mile above their peers, Run The Jewels 3 is almost as politically and socially charged as concerned with simple bragging.

‘Thieves! (Screamed the Ghost)’ references the Ferguson riots and the possibility of civil unrest, while on ‘2100’ Killer Mike questions how far until the racial tensions lead to another Holocaust.

Needless to say, this is all powerful and suggestive stuff, yet the comparably less memorable beats undermine the wordplay somehow. While on their previous album – and especially their debut – every instrumental was memorable, heavy and intricate, on Run The Jewels 3 EL-P seems to have taken a more back to basics approach. While still energetic, there is missing some of the zaniness and unpredictability that made EL’s production work the kaleidoscopic hydra it is known for being. On this album, EL-P seems to have opted for heft, sacrificing some of the colour.

Likewise, in terms of delivery, the duo seems to be lacking some of their trademark frantic energy. Whether due to the subject matter of the album or fatigue, when the passion does come back in full force – on tracks like ‘Call Ticketron’ or ‘Panther Like A Panther’ – it is, simply put, beautiful and jaw-dropping in equal measure.

It must be said, however, that even with all the aforementioned flaws, Run The Jewels 3 is still possibly one of the best hip hop releases of the last few years. The shared flow the duo have, especially when Killer Mike focuses more on racial issues, leaving nerdy word play to EL-P, is unique and intoxicating, notaby because initially it seems like it should not work.

Likewise, while not as memorable as their previous output, the beats are still fun and adrenaline charged, and will, no doubt, be remixed for many a future rap track or house party.

And there are also individual moments of greatness that overshadow the, perhaps, somewhat less polished whole. The aforementioned ‘Call Ticketron’ contains one of the best EL-P’s vocal deliveries to date and ‘Don’t Get Captured’ is a filthy and putrid horrorcore jam where EL takes the persona of a cop abusing his power and shooting defenceless blacks.

Lastly, ‘2100’ is simply mesmerising and goosebump inducing, the hook by BOOTS being out of this world.

Run The Jewels 3 is flawed and uneven as a whole, but it is still more than worth listening to, not just due to some individual examples of pure genius exhibited on this album, but also because, even when not firing on all cylinders, RTJ remain of the most lyrically interesting and well-produced acts of the current hip hop era.